They are designed for the purpose they are intended for. The KSM9 is VERY sensitive to stage wash, so the no brainer here is not using it on smaller stages, in front of a drum kit, and keeping the monitor envelope in the null. Doing that means less console work, and not doing that along with inadequate engineering is going to cause problems. I’ve found Heil handhelds do poorly on smaller stages, but unlike the KSM9 will they will tolerate wash better, which makes sense as they are dynamic units. Amazing product range for outdoor performances, especially the PR-37. Edit: I was attempting to reply to someone’s comment concerning the Shure mics in general/KSM9/etc. but tapped the general comment input box. I’ll just leave it here though lol.
Hi I had the kms7 and the kms9hc They were rubbish to me and feedbacked on every frequencie. I used them on a new digital Ulxd The said they were great, also on feedback but the opposit is true. I use Heil Rc35 capsules for year bit shure still cant beat the Heil, Hopefully the Shure Nexadyne NXN8/S can beat the Heil but i dont have must trust in shure anymore. They dont deliver what the promise
Some microphones, mostly condenser microphones have a thin plate/diaphragm in them that reacts better when warm then it does cold, They are powered microphones, and require a power supply to heat up the plate and diaphragm so that it sounds nicer.
First time hearing. This is the only song I was missing, and it is great! I love the backing vocals to this song. The drums are jammy with the higher notes of the guitar. Also, I like that with this one, I can actually understand ALL of the lyrics. It's definitely an underrated song!
It is baffling that nobody has left a comment on this amazing song, and that it doesn't get as much attention as more popular stuff. This band is better than most of the trashy modern artists, the production quality is sublime. Been listening for awhile now and have seen live, I really hope you guys go far. This stuff is just too good to go unnoticed. Much love to Lakyn and the guys <3
You are definitely right in that these increase the sustain of the drum, but the goal for me was to create some isolation between the floor tom and the vibrations created by the kick drum. I have added some cotton balls inside the drum and some tape to the reso head to combat the added resonance.
How do you tune your drums? If you don’t know exactly what’s a good estimate? I can tell they’re lower for sure. I hear a lot of people say they don’t like low tunings because they get “lost” in the mix, where as what I hear is they sit really nicely in the lower register frequencies and boost the impact/ “thumpy-ness” of the song. Dig it.
The drums are tuned low for sure. I also use some muffling rings. I play Welch Tuning System drums, so I am able to find a sweet spot with the tuning very easily. I turn the tension key (which tunes the entire drum from one spot) just enough so that the drums sound like drums and don't rattle, which is a big advantage of this tuning system. WTS claims that with their system, drums can actually be tuned lower than traditional lugs. So far it's been a really nice combination to use those drums with earthworks mics. I record into Logic Pro and add EQ and compression to further bring out the thumpy sound you're hearing. I am essential chasing what I would call the Tre Cool sound. I'm sure there are plenty of different philosophies on where the drums should sit in the mix, and I am no expert. I'm just following my ears towards the best sound I am able to achieve with the tools at my disposal. I also use Evans UV2 for batter side, which has a warmer sound to my ears.
@@COBRAHAWKband thanks for the detailed answer 🙏, and I’d say you’ve definitely found a great tone that sits well in the mix. I was listening on my studio monitors, sounds great.
I woke up a little before 6 AM, poured a cup of coffee, flipped over to RU-vid and found this video. The uncontrollable bout of headbanging that followed caused me to spill my coffee all over my desk. But totally worth it.
The Zoom uac 232 was disppointing for me because when Zoom annouced it the prototype case was slightly different. The prototype was beautiful and the actual looks ugly as f$@#!...the only thing estheticaly lovely are the blue lights. I think Zoom instead of spending materials in the 8 wheels and in those 4 metal cylinders on the corners; they should have spend it more on a metal casing wich is more practical. And the fact that they use usb as a power supply is a downside. They could had sold the UAC 232 a few bucks more eventhough they will had sold and will sold more. Nice they have premium preamps. I am waiting for the Zoom uac 832... let see if it comes out roughed like advertised.
I love hearing your thoughts on these behind-the-scenes types of videos. Also, you guys are hilarious. Thanks for always giving it your all. It shows. Can't wait for moe music!
Also. One person that might be worth talking to is Matthew Smith from the band NOT ALL THERE from Wenatchee. That band has clocked in 25 years this past month.
Nice interview. Perfection can definitely be a strange obsession. When you guys are talking about the live recordings, i think its ok to have some wiggle room as opposed to keeping things %110 percent on track. Keep in mind, its you vs the laws of nature especially playing live. If the content is good the quality is almost an after thought. I think you guys do well. Hope to see you all again soon. Keep it up.
Guys. In just the first three words of this podcast, the sheer epicness destroyed my computer. I mean, it melted. There's a puddle of slag and burned plastic on my desk. We need an advisory label on this video. Now how am I supposed to look at funny cat and puppy videos? On the serious, what a great friendship. Obvs the core of a great band. And when you guys talked about what changes as musicians get older... man, hit me right in the yes button. Thanks for a nice 20 minutes on my Tuesday morning. AAAAAAAAAAAAAAAAAAAAAAAA -- *
Judging from that note you actually still get the advantage of 32 bit float in Logic Pro if you record very quiet signals (less noise), but you are out of luck if the signal clips, the solution could be using passive level attenuators, then the loud signal would unlikely clip and the quite sound would still be fine, as well.
This video is very useful. The Zoom compatibility chart says (for Logic Pro and Garageband) "Operation with 32-bit float setting is possible, but values of 0 dB and higher cannot be handled." This video demo illustrates that problem exactly.
